(failure & art) as var form of hacking

hacking as appropriation

Situationist International's détournement, readymades, sampling, cut-up, bricolage, ..........................................

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bee beee beep

diff w dig art → not the front end, but undercurrents, the layers behind, the source code.

it is breaking and entering of sth that by code of politics/economics is declared closed – just as an artwork in regard to archiving and to the art market – as an entity of value – is declared closed

→ faking scarcity

techniques of ripping open, modification, hacking, signal processing, de-/reconstruction of code, transcoding often referred to as

creative abuse

infers planned way of using && that system is meant to remain closed → politics of protocol, not necessity

suorce coed as materila

JODI

JODI

seemed that media art was all about progress: 90s net.art category @ prix ars electronica was at

some point subdivided into net excellence and net vision, one stressing on the artistic, one on the crafts component of the genre

from the beginning JODI focused on something else: the systems behind, their breaking points. they ran with and counter current developments.

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“Whether ritualized or not, art contains the rationality of

negation. In its advanced positions, it is the Great Refusal – the protest against that which is. The modes

in which men and things are made to appear, to sing and sound and speak, are modes of refuting, breaking, and recreating their factual existence.”

Herbert Marcuse, One-Dimensional Man

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protest against that which is

→ creating that which is not (meant to be) = errorrrr

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this approach “is critical and ironic, disrespectful and deconstructivist. The artists do not take technological dispositives for granted, but rather manipulate and abuse, circumvent and modify”

Tilman BaUmgärtel

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tilman baumgärtelcustomizing / redesigning code as a form of hacking

political dimension

lack of respect for technological givens (Marcuse, Galloway)

driving system towards epic fail

bazon brock "laughing terror"

adddd

not destructive, but deconstructive

doesn't destroy, but create

disrespectful/disbedient

playful

ironic

critical game, language game, wittgenstein, negotiating

meaning → semantically void, made empty

clik cklic clic

“i stare at the glitch as a void of knowledge”

r0sa menkman

hacking exxxpecctations

hacking expectations + automated consumption by alienating spectators from learned meaning

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made “meaningless” on purpose

→ ostranenie as a specific form of language game

ostranenie

Viktor Shklovsky

defamiliarization, “Verfremdungseffekt” (alienation effect → Brecht) live from making known things appear strange, thereby creating confusion in the audience.

confusion bec we become estranged from what sth used to mean, meaning is not negotiated yet

ostranenie

→ “failure” as a temporal, temposurreal, temposensitive form only exists as long as it can escape semantical negotiation

→ failure is a magic creature

post modern post mortem

juxtaposition to technotopia's hysteria of constant progress, i.e. perfection, crystallization, timonds

post modern post mortem

Slavoj i ekŽ ž , “Grimaces of the Real”

monster as subject of Enlightenment → monster as result of Enlightenment

→ romanticism, night tales, uncanny, re-establishment of the Unknown

→ zombies

black (magic) box → sorcerer's apprentice

curiosity, opening up, hacking, releasing the magic within

hacker ethics+aesthetics

fLorian cramerintentional crudeness as an alternative computer aesthetics that in and of itself conforms w “classical philosophical notions of the sublime as the opposite of beauty”

tilman baumgÄrtel “[hacker ethics are] at the core of all creative use and more importantly the creative abuse of computer technology.”

hacking as criticism

as a form of criticism, it shifts “from a second-order reflection on things into a mode of creation”

jusSi parikka, garnet hertz

→ criticism within the medium

{work of} art as process & open system

Umberto Eco Morris Weitz

re-working as a means of preservation

“With wide implications for the media archaeological methodology, the archive is increasingly being rethought not as a spatial place of history, but as a contemporary technological circuit that redistributes temporality in other ways.”

jussi parikka, garnet heRtz

timonds & digital punk

archiving = timond

vs

decision to open up and make visible the scars, surgeries & safety pin mendings has created a digital punk style

after the future

'what if' the future has already happened?

post-futuristic

dystopian in a mad max tradition

worst case scenario art

laughing terror → Bazon Brock